New text! 🇵🇸 Hagiography or critique? Oliver Dixon explores tensions and divisions found in pro-Palestinian cinema, from recent so-called “encampment shorts” to Jean-Luc Godard and Anne-Marie Miéville’s essay films.
An essay by Oliver Dixon (@flicksonmcgee ) connecting Michael T. Workman & Kei Pritsker’s THE ENCAMPMENTS, Noureldin Ahmed’s A SEPTEMBER SONG, Augustin’s LOOKING BACK, Firat Yücel’s HAPPINESS, Jean-Luc Godard & Anne-Marie Miéville’s ICI ET AILLEURS, and Jean-Luc Godard & Jean-Pierre Gorin’s JUSQU’À LA VICTOIRE.
This text was developed during the European Workshop for Film Criticism #8—a tandem workshop set during Kortfilmfestival Leuven and Vilnius Short Film Festival.
[Notes: Short films are most likely screened as part of a curated programme that enables a dialogue between them. We continue that conversation in the form of essays at talkingshorts.com/notes]
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@kortfilmfestival@vilniusshortfilmfestival@michaelworkman@keipritsker@firatyucels #filmcriticism #shortfilm #filmfestivals #vilniusshortfilmfestival
New text! 📱 In Nicolas Gourault’s THEIR EYES, screen recordings testify to the experience of online micro-workers from the ‘Global South’: their job is to train AI for self-driving cars to navigate the streets of the ‘Global North’—a labour process that, by design, steers towards a real abstraction, and a looping nightmare.
Review by Oliver Dixon developed during the European Workshop for Film Criticism #8—a tandem workshop set during Kortfilmfestival Leuven and Vilnius International Short Film Festival.
[On The Circuit: Hundreds of short films are released on the festival circuit yearly. We review those that spoke most to us at talkingshorts.com/onthecircuit]
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@kortfilmfestival@vilniusshortfilmfestival@nicolasgourault@flicksonmcgee@squareeyesfilm_ #shortfilm #shortfilms #filmfestival #filmfestivals
My Michael O’Pray prize nominated text, ‘Communist Dislocations’, on the great Marc Karlin, his positioning within a post-militant tradition and the formal registers of a waned communist horizon is available to read on both @art_monthly_uk and @filmvidumbrella websites.
Such a pleasure to be published alongside two great texts by fellow awardees @inner_effigies and @emily__________m !
Many thanks to @chriskbmccormack for his careful editorial eye.
‘The Dividing Line’, a short film @katielwrench and I made about the Cambridge for Palestine Encampment will be screening at @icalondon and @thegardencinema in September alongside other shorts on UK student encampments.
Thanks to @roastytoastyentity wizardry for sound mixing and mastering.
Screening at the ICA, Sunday 14th September @ 6:30pm (https://www.ica.art/films/films-from-uk-s-students-encampments-q-a);
Screening at The Garden, Sunday 28th September @ 6:30pm (/film/films-from-the-uks-student-encampments/).
For @opencitydocs and @anothergazejournal critics workshop, I spoke to the legendary @theotherjohnsmith about his student days, long career and latest work Being John Smith (2024).
Many thanks to @daniellas and Laura Staab for running the wonderful workshop and editing the piece!
/notes/john-smith-on-being-john-smith/
Some (re)readings/watchings from this last term, now that it’s finally over.
1. For teaching, returned, once more, to Metz and his endless bangers. “The work of art steals the art from us at the same time as it presents it to us, because it is both less and more than it. Every film shows us the cinema, and is also its death.”
2. Godard’s Film Socialisme and its waves.
3. Some entwining of Jameson’s Postmodernism and Paul Willemen’s Looks and Frictions. The latter is one of my favourite thinkers (perhaps one of the most dialectical?)of the Screen heads.
4. Impossible mappings of Rivette’s Out 1
5. New Capital translation. From Fowke’s ‘congealed quantities’ to Reitter’s ‘gelatinous blobs’.
6. Mulvey/Wollen’s elegiac Crystal Gazing.
7. @johndavidrhodes and @cinemiasma new book on the prop and cinema’s instrumentality.
8. Godard/Mieville’s Numéro Deux.
9. Sam Selvon’s 70s updates in Moses Ascending.
10. Truffaut’s cinema nightmare.
11. Raymond for all things Wales.
This is what happens to your brain when the 1970s.
Robert Kramer’s Ice (1970)
Godard/Miéville’s Ici et Ailleurs (1976)
Straub/Huillet’s Trop tôt, trop tard (1981)
Marc Karlin’s A Dream from the Bath (1985)
The long 1970s?
Programmed a couple of screenings for @londonshortfilmfest .
The first featuring films on art spaces, colonialism, imperialism and resistance. Screening 21/01/2025, 18:00, @icalondon .
The second with @edwebbingall on housing struggles in British cinema. Screening 25/01/2025, 15:30, @icalondon .
Loads of great stuff on elsewhere too! Tickets and more info: shortfilms.org.uk
![New text! Hagiography or critique? Oliver Dixon explores tensions and divisions found in pro-Palestinian cinema, from recent so-called “encampment shorts” to Jean-Luc Godard and Anne-Marie Miéville’s essay films.An essay by Oliver Dixon (@flicksonmcgee) connecting Michael T. Workman & Kei Pritsker’s THE ENCAMPMENTS, Noureldin Ahmed’s A SEPTEMBER SONG, Augustin’s LOOKING BACK, Firat Yücel’s HAPPINESS, Jean-Luc Godard & Anne-Marie Miéville’s ICI ET AILLEURS, and Jean-Luc Godard & Jean-Pierre Gorin’s JUSQU’À LA VICTOIRE.This text was developed during the European Workshop for Film Criticism #8—a tandem workshop set during Kortfilmfestival Leuven and Vilnius Short Film Festival.[Notes: Short films are most likely screened as part of a curated programme that enables a dialogue between them. We continue that conversation in the form of essays at talkingshorts.com/notes]...@kortfilmfestival @vilniusshortfilmfestival @michaelworkman @keipritsker @firatyucels #filmcriticism #shortfilm #filmfestivals #vilniusshortfilmfestival](https://sp1.picnob.com/p/pt_6747267261183367456613_0_9bc20808da2e49a431e5764833ca1216.jpg?o=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&h=9b47f6c7a49035c582201f9a252c6d66)
![New text! In Nicolas Gourault’s THEIR EYES, screen recordings testify to the experience of online micro-workers from the ‘Global South’: their job is to train AI for self-driving cars to navigate the streets of the ‘Global North’—a labour process that, by design, steers towards a real abstraction, and a looping nightmare.Review by Oliver Dixon developed during the European Workshop for Film Criticism #8—a tandem workshop set during Kortfilmfestival Leuven and Vilnius International Short Film Festival.[On The Circuit: Hundreds of short films are released on the festival circuit yearly. We review those that spoke most to us at talkingshorts.com/onthecircuit]...@kortfilmfestival @vilniusshortfilmfestival @nicolasgourault @flicksonmcgee @squareeyesfilm_ #shortfilm #shortfilms #filmfestival #filmfestivals](https://sp1.picnob.com/p/pt_6735142161191863313044_0_c15af3a4c996e59b70dcd85130882fdd.jpg?o=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&h=637e2864e735a45dedf2e9cd34c24357)
